How to sing plain chant

HOW TO Sill
PLAIN CHAI*

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HOW TO SING
PLAIN CHANT

BY

Fr. JAMES HARRISON, O.P.

Chiefly for the use of
^Dominican Choirs

CUM PERMISSU SUPERIORUM

PRINTED AND PUBLISHED AT S. DOMINIc's PRESS,
DITCHLING, SUSSEX. A.D.MCMXX.

CONTENTS

PREFACE

Tage

3

NOTATION CHAPTER I

5

THE MODES OR TONES

II

15

RHYTHM

HI

19

PRONUNCIATION OF LATIN

IV

32

PSALMODY

V

36

VARIA

VI

65

ACCOMPANIMENT

VII

82

APPENDIX

84

ERRATA

Page 10. The final note of the Scandicus Subtripunctis
should be 3. diamond note.

Page 12. ACCIDENTALS. The sign of the
natura/ should have been included:

Page 40. The last note on the third (last) line of the
chant should be LJ and not FJy i.e.

B-— I

■ NOT .

/

PLAIN CHANT

Nihil Obstat:

Austin Barker, O.P., S.T.L.
Jerome Rigby, O.P., S.T.L.

Imprimatur:

^ Petrus, Epus Southwarc.

PREFACE

THIS is not a treatise on Plain
Chant, but a compilation of
practical definitions and rules
which, if rightly understood
and faithfully followed,will enable a choir
to render well the beautiful melodies of
the ancient chant of the Church.

But, however well the theory of the
chant and the rules of its interpretation
may be known, it will not be possible for
any choir to obtain really good results, un-
less there be held regular and fairly fre-
quent practices. And if it be felt that all
these rules and practices are too much of a
burden and an ever recurring impediment
to the freedom of devotion, let it be well
borne in mind that the Divine Office is
primarily 2i public act of Divine Worships
and that consequently private devotion,
though by no means a negligible matter,
should nevertheless be subordinated to
whatsoever the perfect performance of
the public act may demand. In point of

fact this should not be found too exacting.

In this collection of rules and definitions
there is nothing, it is hoped, which is con-
trary to the Regulae Cantus to be found in
oVivT)om.in\c2inProcessio?jarium. (1913 ed.)

The author takes this opportunity
of expressing his gratitude to Father
Clement Donovan, O.P., of the United
States Province, for his great kindness in
giving much valuable help andfor revising
the manuscript.

Fr. James Harrison, O.P.

Hawl^esyard Priory^
7 Nov. 1 9 1 9. Rugeiey.

CHAPTER I.
NOTATION

STAVE: The Stave consists of four lines
which include three spaces ; and upon
these lines or within these spaces are
placed the notes, f.^.,

4-

3-

2-
1-

Occaslonally the Stave is enlarged by an
extra small line either above it or below
it ; and upon,above,or below these small
lines notes may also be placed.

NOTES are the signs of musical sounds.
They signify the relative height or
depth of the sound according to their
relative highness or lowness upon the
Stave. The Notes, in their relation to
one another according to sound or tone,
are seven inkind,namelv: —

DO (or UT), RE, MI, FA, SOL, LA, SI.

DO is the lowest in pitch, and the rest
ascend either by tones or by half-tones
(semi-tones) , until Do is repeated, i.e.
the same tone but, as it is called, an
octave higher.

SEMITONES: The Semitones occur
between MI and FA, and between SI
and the repeated DO.

DO CLEF

s^

The Clef called DO, placed usually at the
beginning of the Stave, signifies that all
notes on the line which it embraces are
DO. This being known, the other notes
on the Stave are easily found either by
ascending or by descending.

FA CLEF

«-

Similarly, the Clef called FA, signifies
that all notes on its line are FA.

7
TYPES OF SINGLE NOTES

I. puNCTUM, or SQUARE note;

2. DIAMOND note:

-«-

♦—

3. VIRGA, or TAILED NOTE: — ^4^

4. QuiLisMA, a zig-zag note
between two ordinary notes :

5. oRiscus, an extra note doubling _
thefinalnoteof agroup: ~^^

TYPES OF NEUMS OR GROUPS

I . Groups of Two Notes

PODATUs or PES, thelowernotc
of which is sung first :

8

2. CLivis, the top note of which is "~~^~
sung first: IZZIZ

3. EPIPHONUS, OrLIQUESCENr

PODATUS: ~i'

4. CEPHALICUS, or LIQUESCENT CLIVIS ZZJ

5. *DISTROPHA,OrBISTROPHA,

which is sune as one note of
double vaUie:

2. Groups of Three Notes

I. SCANDICUS: "J~|X"

2. SCANDICUS LIQUESCENS:

i

3. CLIMACUS: '^♦^~

* Each separate note of a Distropha or Tristropha is
called HH Apoitiopha.

4. ANCUSjOrCLIMACUS LIQUESCENS: ^*^

5. TORCULUS:

6. TORCULUS LIQUESCENS:

7. PORRECTUS: [14

8. sALicus:

9. *TRisTRoPHA,asonenotcof

triple value:

3. Groups of Four Notes

I. PORRECTUS FLEXUS: k^

* See Note on previous page.
C

lo

2. SCANDICUS FLEXUS: j\

4. TORCULUS RESUPINUS:

5. CLIMACUS RESUPINUS:

6, PES SUBBIPUNCTIS:

3. sALicus plexus: ""jjl^

^^

4. Groups of Fivey or Mere, Notes

I. SCANDICUS SUBBIPUNCTIS: f^^

2. SCANDICUS SUBTRIPUNCTIS:

^

II

Neums may be joined together so as to
form larger groups.

If in the midst of, or at the beginning of
a group (not at the end) , two notes come
together on the sameline, or within the
same space, then these two notes are called

aPRESSUS,d'.^.,

"H^

HALF NOTE

HALF NOTE: The Half note(orGuide)
placed at the end or in the course of a line,
is not to be sung, but shows beforehand the
pitch of the note immediately following.

SYLLABIC AND NEUMATIC
CHANT

If a piece of Chant has only one note to
each syllable (or almost entirely so) it is
said to be SYLLABIC.

12

If, on the other hand, the various sylla-
bles are frequently to be sung to neums or
groups of notes, then the Chant is said to
be NEUM ATIC, or MELISM ATIC,
or ORNATE.

ACCIDENTALS

The only accidental \i?,tdi is ihcjlat (^ ,
it can affect only the one note SI, which,
instead of being a semi-tone,then becomes
a whole tone below DO. In Dominican
Chant books, this accidental affects every
SI to the end of the line or space upon or
within which it is placed, unless the
natural SI is restored by the sign of the
natural.

INTERVALS

An internal is the degree by which one
note is higher or lower than another in
pitch. The following are the names of
the different intervals :

The Semi-toneipx half-tone) is the small-
est of intervals in Gregorian Music, and

13

occurs naturally from M I to FA, and SI to
DO, but accidentally from LA to SI flat.

The Tone occurs naturally between all
notes except between SI and DO, and
between MI and FA, but accidentally be-
tween SI flat and DO. The Tone is some-
times called a Major Second, and the semi-
tone a Minor Second.

ThtSemiditone, or Minor Third, con-
tains a tone and a semi-tone.

The Ditone^ or double tone, or Major
Third, contains two tones.

The Diatessero?i, or Just Fourth', con-
tains two tones and one semi-tone.

The Tritone^ or triple tone, or Major
Fourth, contains three tones, and occurs
naturally only between FA and SI. This
interval used to be known as the "diabolus"
on account of its occasional unpleasant-
ness. Consequently the SI is sometimes
flattened. Whenever this is to be done, the
accidental sign b is, in the Dominican
chant books, always placed before SI ;

H

otherwise the notes are to be given their
natural sound.

The Diapente, or Fifth, contains either
three tones and one semi-tone (Major
Fifth) , or two tones and two semi-tones
(Minor Fifth, or False Fifth) .

A Minor Sixth consists of a semi-tone
withaDiapente.

A Major Sixth consists of a tone with a
Diapente.

Greater intervalswould consist of a
Semi-ditone with a Diapente, or of a Di-
tone with a Diapente.

The Diapason or Octave, contains five
tones and two semi-tones, and ranges from
any note to its corresponding note above
or below.

?5
CHAPTER II.

THE MODES OR TONES

The Modes or Tones are the names given
to the result of an attempt to classify the
melodies of Plain Chant.

This classification resulted in four
groups or Modes , distinguished by their
Jinalnoits.

These four Modes ended respectively on
RE, MI, FA, SOL.

Each group or Mode, which had a
possible range of eleven notes, was divided
into two scales called authentic and plagal
respectively, of an octave apiece (dia-
pason) , the middle five notes out of the
eleven being common to both scales.
The Fma/ofesLch mode is also called the
TomCy or the Fundamental

The Dominant is marked, in the follow-
ing scheme with an asterisk.

i6

1st Tone: Authentic [Dorian] t

i I I

1st Mode: la, si, do, re, mi, fa, sol, la, si, do, re.

*

2nd Tone: Plagal [Hypodorian]

3rd. Tone: Authentic [Phrygian]

2nd Mode: si, do, re, mi, fa, sol, la, si, do, re, mi.
I *

4th Tone: Plagal [Hypophrygian]

5th Tone: Authentic [Lydian]

1 ~* I

3rd Mode: DO, re, mi, fa, sol, la, si, do, re, mi, fa*

! !__i

6th Tone: Plagal [Hypolydian]

t It was thought by medieval writers that the
Gregorian melodies corresponded to the Greek modes ;
later research has shown this to be inaccurate, but the
titles are still used.

»7

7th Tone: Authentic [Mixolydian]
1 I I

4th Modt: RE, MI, FA, SOL, LA, SI, DO, RE, MI, FA, SOL.

J "LJ

8th Tone: Plagal [Hypomixolydian]

In each Tone ( as distinct from Mode)
there are five tones and two semitones, but
the position of the semitones (MI-FA and
SI-DO) varies.

There are some melodies which do not
strictly conform to these Tones^ e.g. the
Psalm In Exitu has its special tone (for
Lent) with LA for Dominant in the first
half of each verse, and SOL for Dominant
in the second half; and some other melo-
dies terminate in LA and others in DO.

Again, the melody sometimes exceeds
the limits of its Tone scale and is then said
to ht superabundant \ while sometimes it is
deficient either in the Final or in the
Dominant, and is then irregular; while at
other times the Authentic and Plagal
tones are found together in the same
melody, which is then said tabe mixed.

i8

The Tone, therefore, gives, roughly
speaking, the compass of the melody, and
the jDo/»/«^«/is the note which may be
said to dominate it and which in the Psalm
chants serves as the reciting-note.

Note: By their Constitutions Domin-
icans are required to use only their own
Chant ( in nota ordinis. No. 62 ) in their
various Liturgical services. If they have
less variety (as indeed they have) than, for
example, the Benedictines, the Order, no
doubt, has very good reason for these
limitations ; for it would be quite easy for
it to add other melodies to the present
collection, if it so wished.

19

CHAPTER III.

RHYTHM

RHYTHM, which is the soul of the
Chant, is a compound of several
elements. It may be defined as
the " flow and ebb of musical sound."
But musical sound itself is not simple but
compound.

A Musical sound is made up of:

1. MELODY, or pitch, for a note may be

high or low;

2. QUANTITY, or duration, for notes

may have different lengths, and
passages may be quick or slow;

3. INTENSITY, for notes may be strong

or weak, and passages may be quali-
fied by crescendo or decrescendo;

4. QUALITY, for there are the varying

tone-colours of the different vowels
and of individual voices.

Themost important element of musical
sound in relation to Rhythm is that of

20

Quantity or Duration. H en ce R hy th m
was accustomed to be defined as the order
of movement.

Rhythm, therefore, does not essentially
consist in the alternation of strong and
weak beats, of high and low sounds, but is
the sense of motion imparted to certain notes
2indi the sense of rest 2iti2ic\\Qdito othtTS. The
sense of motion is called Arsis^ and the
sense of rest, T'/^^'j-Zj.

In other words. Rhythm chiefly con-
sists in the alternation of r^/^/^W/y long and
short notes, of quick and slow passages.
Not, of, course, in the modern music sense
namely, that some notes of themselves are
longand others short, for in modern music
the rhythmic movement is strictly mea-
sured, whereas in Plain Chant this is not
so. A rhythmical ///d'j'w [c^Htd accent or
ictus), however, occurs, in the latter, at
every second or third note. Thus every
Plain Chant melody is composed of
rythmical bars(so to speak) oftwo or three
notes, and its movement is therefore said
to be both binary and ternary.

21

As it Is necessary to beat time in order to
produce correctly the measure^/ rhythm, of
modern music,so also is it necessary to beat
time if it be desired to produce perfectly
thefree rhythm of Plain Chant. *

To do this correctly it is necessary to
know where the rhythmical t/iesis or tctus
occurs. In the Solesmes editions of the
chant, this is marked by a little perpendi-
cular stroke placed above or below a note
(See Appendix.) But where the t/iesis is
not so marked,as in Dominican books, it
may be found, if the following rules be
attended to.

The rhythmical thesis or ictus occurs:
I. Attheyfrj-r;70/^ofallneums,orgroupsof
notes, except in the case of the Salicus,
where the Mfj/> falls on the second note,
and also when the second note of a
group forms a Pressus with the note
following, for then the M^j/V falls on the
first note of the Pressus.

* For direction in this matter see: Les Vocalises
Qregoriennes^ by Dom. A. Mocquereau, O.S.B.
(Descl^e & Co., Rome.)

22

2. At the Virga placed at the culminating
point, whether in the middle or at the
endjof aneum,^.^.

tv

3 . At the note immediately preceding any,
except the smallest, of the bars.
Let it be well borne in mind, however,
that this rhythmical ictus or thesis does not
necessarily demand a stress or increase in
strength of tone, produced by greater
pressure of breath, but that it means sim-
ply the term of a movement. The new im-
pulse of voice which every new rhyth-
mical bar demands, is not an impulse of
intensity or strength^ but only oi movement.
The note which receives it may even be
weaker or softer than the previous one.
* STRESS-ACCENT
Stress is given to certain notes, accord-
ing to the rules which follow:

* Rhythmic accent ( thesis or idlus), Tonic accent,
(word-accent or grammatical accent) and <S^r«; accent
are three quite different things.

23

1 . In the Salicus the second note receives a
j//^^/ stress, as well as a slight prolonga^
tion.

2. The first note of a Pr^j/«/ also receives a
j//^^/ stress-accent.

3 . A slight stress-accent should be given
to the tonic accent o^ the Latin text ;
though care should be taken not to let
this interfere with the rhythmic flow of
the melody.

When the tonic accent happens to coincide
with a thesis, then, of course, the thesis
receives a slight stress.

In giving the stress-accent to a note, care
should be taken not to lengthen that note.
Stress and duration are different things.
In fact, such accentuation should lean
rather to shortness than to length.

Moreover, the amount of stress given
to a note should be in proportion to the
importance of the latter's position.

24

In Syllabic chant (as, for example, in the
singing, as also in the so-called "recita-
tion," of the Psalms) the rules of good
reading should be observed : that is to say,
the accents, both principal and secondary,
of words and phrases should be carefully
attended to.

In both kinds of chant, syllabic and
neumatic, any approach to staccato must
be carefully avoided.

Each neum, or group of notes, is to be
considered (in some sort) as one whole, and
should be sung with one impulse of voice.

LENGTH, PAUSES, EXPRESSION

As to lengthy or duration^ it must first of
all be pointed out that all notes, whether
square, diamond, or tailed, are of them-
selves equal in value.

Nevertheless, their value is not always
uniform, but varies according to their
position. Thus: —

At the end of every passage, e.g. of an
Antiphon, or a Versicle, or a Responsory,

25

the last accented syllable, with the syllable
or syllables following, (if the chant be
syllabic) ^01 the last neum or group of notes
(if the chant be neumatic) , should be slight-
ly drawn out, and, at the same time, sung
more softly.

The note immediately preceding these
A or A B c .

T

bars should be clearly longer and more
lightly or sofily produced. Moreover, at
the bar B, an opportunity is given for a
short pause to take breath, and at the bar C,
for a full breath and longer pause.

But \}[\&note before the smallest bar

should not be lengthened, but only a little
more //^////y or j-o/?/y produced. It is a

D

26

distinctive rather than a disj unctive sign ;
it prevents the clashing or confusion of the
neums and words, and, in particular, helps
to keep clearly distinct a number of neums
which may follow consecutively ( neumce
jubilorum ) . In the Graduales of 1 890 and
1 907, in place of this bar, small spaces
were used between the neums or the
words.

DOUBLE BAR

The Double Bar points out the alternate
turns of the singers, the ending of the in-
tonations, the beginning of the verses, or
the conclusion of a piece of chant. But
only in the last case does this bar signify
any pause or any lengthening of the pre-
ceding notes.

The note immediately before a Quilisma
should be slightly lengthened, and the
Quilisma itself sung more ligh tly or
softly. •

27

A Virga standing alone and a little apart
from a group which follows, is to be
doubled in length.

After any neum attached to a syllable
which immediately precedes another
syllable of the same word, no disjunctive
pause should ever be made by the taking of
a fresh breath, lest the word be incongru-
ously broken. This is known as the QoUen
Rule.

Care should be taken not to sing the
descending notes of a Climacus more
quickly than other notes.

Attention should be paid to shades of
expression; it is not human to sing a piece
through at an uniform loudness. Conse-
quently it is important to understand the
meaning of the text, for the melody is meant
to be so united to the words as to give them
theiry«//expression.

Hence, xht general rule that the singing
of the chant (as also the so-called "recita-

28

tlon" of the Divine Office) should as a
whole be restrained and of only a moderate
loudness, should be most carefully obser-
ved. Only then can the proper variations
of loudness and softness, of crescendo and
decrescendo, be made.

A group of ascending notes should be
characterised by a slight crescendo^ and a
group of descending notes by a similar
decrescendo.

No individual member of the choir
(other than the cantors and they only
w^hen necesssary) , should lead or dominate
the choir ; but all should strive to sing or
recite the words (and indeed every sylla-
ble) together at a uniform pace and loud-
ness.

As to speed, it is impossible to lay down
any very precise directions. Much
depends on the spirit of the piece and on
the size of the church. The Dominican
Constitutions warn us against being either
too fast or too slow. "Et hoc ne Fratres

29

devotionem amittant, sifestinanier, confuse
etsinepausis,et non tractim etdistincte dicatur;
et ne etiam studium eorum impediatur, si
nimis morose et cum caudis et protractione
vocis in medio vel in fine versuum dican-
tetur."(No. 63). Between these two
extremes there is plenty of latitude for
variety. If, however, the directions we
have given, or shall give, as to the mann er
of rendering the Chant, be faithfully
carried out, there will be little or no danger
of falling into either extreme.

Changes of speed are sometimes desir-
able, but it is for the cantor to settle such
matters beforehand.

The pause in the middle of a verse of the
Psalms should be clearly longer than the
pause at an inflexion. It should vary in
length, some authors say a pause of from
two to four beats, in accordance with the
dignityorsolemnityof thefeast. Thus,
since the pause is an element of Rhythm,
the more solemn (or the slower) the chant.

3°

the greater should be the pause.

There should be no pause between verse
and verse. At the same time, great care
should be taken that a new verse be not be-
gun before the completion of the previous
one.

In the "recitation" of the Office, it is in-
cumbent upon every individual member
of the choir to make an effort to to take up,
and keep to, the note given out by the can-
tor, hebdomadarian, or versicularian, as
the case may be.

The note (FA, F in modern music, is a
good reciting note for most choirs of men)
decided upon should be the one most suit-
able to the majority of the members of the
choir, and it should not be changed
throughout the whole Office. It is ad-
visable to use a tuning-fork, or something
equally effective, for the purpose of ob-
taining the correct note or pitch.

If, however, it is obvious that the choir

3^

has departed from the right note, then this
should be restored by the cantor at a
favourable opportunity, or by the hebdo-
madarian, or versicularian, when reciting
a Chapter or a Prayer, or when giving out
a versicle or new psalm, etc.

LIQUESCENT NEUMS

A syllable which ends with the semi-
note of what is C2i\\Q6.2iliquesce}ii neum fsee
page 8) is made, by its means, to melt, as it
were, into the syllable immediately
following. Its smallness is not a sign of
the shortness of its duration, but of the
lightness or softness of its production.

If the liquescent be absent and the note
be finished with a small line only, e.g.^

t.

then only one noio. is to be sung, but the
double vowel sound [e.g. autQvci, ejus ) , or

* This note seems to be peculiar to Dominican
books.

32

the several consonants (sa/?c/us, v'lrgo)
must be as distinctly enunciated as if the
note were there. Hence, this Ci^f note
will necessarily be slightly prolonged.

CHAPTER IV.

PRONUNCIATION OF LATIN

CLOSELY connected with the
Rhythm of the chant, is the man-
ner of pronouncing the Latin.
For quality, as an element of sound, is
specially exhibited in the varying tone-
colours of the different vowels.

It is most desirable that all members of
the choir should be uniform in method of
pronunciation.

The following are some rules for the
manner of pronouncing the vowels and
consonants of Latin according to the
Roman method.

33

VOWELS

Each vowel should have one uniform
sound, whether it be long or short in quan-
tity.

A should have a full open sound as in
father^ not only in open syllables as amo^
but also in closed ones, such as nam.

E should be as e in met^ or a in fare,

I should be equivalent to the English ee^
whether the vowel in the Latin word
be long or short, e.g. inter, dico, in.

O should be pronounced as in the English
word,yor.

U should be pronounced as oo in the Eng-
lish words, boot, soon.

AU should be as ou in the English word,
plough.

iE and CE should also be pronounced as e
in me tor a in fare.

34

CONSONANTS

C before e^ /, ce^ & (^, should be pronounced
as ch in the the EngHsh word, church. In
all other cases it should be pronounced
ast

CH should be pronounced as i.

G before e^ /, ce and ce^ should be soft, as in
general. Otherwise it should be hard,
as in groom.

GN should be pronounced as ni in onion.

H in »;//^/and/z/M should be pronounced
as-^.

J should be pronounced as j/.

SC before ^, /, <^ and ce^ should be as sh in
English.

C after x should be pronounced as sh, e.g.
excelsis, pronounced exshelsis.

TI when preceded by a vowel should be
pronounced as tsi, e.g. lasti/Za — Icetitsia,

TH should be pronounced as t alone.

35

Z should be pronounced as c/z.

Every syllable must be clearly pronoun-
ced: two vowels should not be run into one

English-speaking peoples will find it
more necessary to take care of the unac-
cented syllables than of the accented ones.

The r in Latin words must be pronoun-
ced when it occurs before another conso-
nant, e.g. carnis must be distinguished
from canis^ and martyr from mater.

Double consonants must be made to close
the preceding syllable, as well as to open
the next, e.g. tol-lis, pec-cata.

36
CHAPTER V.

PSALMODY

In the chant for the Psalms and Canti-
cles ( Benedictus and Magnificat) several
parts are to be distinguished, namely : —

1 . The Intonation or Inception;

2. The J;?/?£'^/i9;?, marked thus: V ;

3 . The Mediation^ or Middle Cadence^
marked thus:*;

4. The Termination, or Final Cadence;

5 . The Dominant, Re citing-note, or Tenor.

1 . An Intonation is made in every Psalm
that is immediately preceded by the in-
toning of an antiphon. It is made,
however, only at the first verse, the re-
maining verses, including the Gloria,
beginning on the Dominant.

2. The Inflexion is to be made where mark-
ed thus : ? . Here a short pause is also to

37

be made to allow for the taking of a
short breath.

3. The Mediation^ or Middle Cadence, is
made in every verse at the asterisk,* to-
gether with a greater pause.

4. The Termination, or Final Cadence, is
made at the end of each verse of the
Psalm or Canticle. In the Dominican
books the Third, Fourth, Seventh and
Eighth tones have two different termi-
nations, while the First tone has three.
But only one kind of Termination is
used in the same Psalm. The different
Terminations are indicated after the
Antiphons by the notes placed over the
vowels e^u^o^u^a^e, (sa^c^brzi^m. yd?m^n.)

The Canticles Magnificat 2indi Benedictus
are sung with an Intonation at each verse.
There is no Inflexion in them, but a short
pause, without an inflection, is permitted,
as is also in the verse of the Introit of Mass.
Other Canticles are sunglike the Psalms.

38

The following are the TONES for the
Psalms, with examples oi Mediations and
Terminations. (The Magnificat is prin t ed
in full in the Vesperale^ and no doubt the
Benedictus will also be printed in full when
a new Antiphonarium is published.)

FIRST TONE

Kule: The Mediation begins on the/*^;??////-
w^/£'word-accent(natural or sometimes
adventitious, an accent given merely on
account of the necessity of the chant) ;
and the last syllable^ whatever it may be,
is always on the last note, which is never
repeated. The preceding note is, how-
ever, sometimes repeated.

Intonation Dominant Inflexion

_ I II II I

I—

5 — M-^

■ ■

39

Dominant

Mediation

i'

1 1

1

i

■ ■ ^"

"

M

■

■

Do-
. . Pa-
in- du-
Justus es
non

mi- num de . .
tri et . . Fi-

Dc

dis-

Qu

ui

Bo- nus ....
Con- tra ....

In

Do- mi- nus et

Ar- gu-

vult

ut ci-

Jerusa- lem Do-

Isra- el

sunt su-

Eum cum prin-

Fremet et ta
Mi- sc-
. . Be-
Je- ru-
Domus A-
Dominus ex
Su-

ci-

ri-
ne-

cor-

per

cae-

li-

tus

min-

ste-

es

me

me

tu-

as

vi-

vi-

mi-

De-

per

pi-

be-

di-

dic-

sa-

a-

Si-

e-

lis
o
est
e
tit
tu
est
est
lit
me
tam
tas
num
us
me
bus
scet

a

turn

lem

ron

on

um

40

Dominant

,i ^1 r

Terminations

— ■ —

■

_

r-

■

n

n.

>.

p

G

■

^

i

■

■

■

""

p

G

■

■

■

■

Sede a

dex-

tris

me-

• •

IS

• •

No-

men

Do-

mi-

ni

• •

Et

prae-

cin-

xit

se

Ante luci-

fer-

um

ge-

nu-

i

te

In quibus

non

est

sal-

• •

us

Pestilenti-

ae

non

se-

• •

dit

De-

dit

ti-

men-

ti-

bus

se

Mirabi-

li-

a

fe-

• •

cit

In mirabi-

li-

bus

su-

per

me

Abundantia

di-

li-

gen-

ti-

bus

te

Tu-

um

vi-

VI-

fi-

ca

me

Qui conver-

tun-

tur

ad

cor

Conso-

la-

tus

es

me

Conteres

na-

ves

Thar-

sis

Super

do-

mum

Da-

vid

Votum vovit De-

0

Ja-

cob

Tu-

i

Je-

ru-

sa-

lem

4»

Rule: All three TERMINATIONS begin /w»
syllables before the last accent (natural or adventi-
tious), and the last syllable is always sung to the last
note or group of notes, but the last accented syllable
(natural or adventitious) to the penultimate note or
group of notes.

In this case and similar cases, therefore, the
last syllable is never considered to be accented.
But if the last word be monosyllabic, then the
preceding word receives or has an accent which is
considered the last; if it be a Hebrew word of two
syllables, then the first syllable is given the accent,
but if of three or more syllables, then the ante^
penultimate is accented.

N. B. When studying the examples and rules in this
and the next chapters, the following points should be
borne in mind:

I. All Latin words, except Prepositions and co-ordi-
nating Conjunctions^ have a tonic accent. But Pre-
positions also receive an accent if they stand alone or
follow the word they govern, e.g. tk propter; vdlet liltra.

II. Both Prepositions and co-ordinating Conjunc-
tions, however, may receive an adventitious accent in
the following cases.

(i). If the last Latin word before the Mediation sign
be of one syllable, and the preceding unaccented
word be of at least two syllables, then this latter*
receives an adventitious accent, t.g, siiper m^*

E

42

(2). If the last word be a Hebrew word of only two
syllables, and an unaccented word precede, then
this latter receives an accent, e.g, 6x Si6n.

(3). If the last word be accented in its first syllable,
and an unaccented word of two or more syllables
precede, then this latter receives an accent, e.g.
super hxvci.

(4). If the last word be oifour syllables of which the
penultimate is unaccented; or of three syllables of
which the penultimate is accented^ then the preced-
ing unaccented word receives an accent, e.g. ciim
princ{pibus; it tab^scet.

(5). If the last Latin word be oifive syllables of which
the penultimate is unaccented; or oifour syllables of
which the penultimate is accented; or if it be a
Hebrew word of at least three syllables; then the
second syllable before the last accent receives an ad-
ventitious accent, e.g. mis6ric6rdia, b^nediftum,
Jeriisaldm.

(6). If two monosyllables are at the end, then the
accent of the third word from the end shall be con-
sidered t^Q penultimate accent; and if this word be
of itself an unaccented word, then it shall receive
an adventitious accent, e.g. Bonus es tu; C6ntra me
6st; Inmedst.

III. In Dominican chant, the last syllable of a word
never receives an adventitious accent.

43

IV". In the prototype of BI. Humbert, from which
the examples are taken, there are no rules. Consequent-
ly, the examples must be our chief guide.

SECOND TONE

Intonation Dominant Inflexion *t

t II II i

^ ■ 1 — ■ ■ ■

i— ■ ■— ■

Dominant Mediation ^

I I

Pec- ca-

to-

rum

non

ste- . .

tit

Pu-

er-

i

Do- mi-

num

Do-

mus

A-

a-

ron

Je-

ru-

sa-

lem

Lo-

cu-

tus

sum

Dic-

ta

sunt

de

te

Rule: The MEDIATION begins on the last accent
and the syllables following are again on the Do-
minant.

44

Dominant

Termination

<— ■ ■ ■ ■ ■ ■

' ■ i ■

Hu-mi- li-

Tu-
Cus-
Mira-
Super

Mira-

Tu-

Dili-

Ti-

Conver-
Conso-

tus
Do-
ts
to-
bi-
do-
Fi-
bi-

sum
mi-

Je-
dit

11-
mum

li-

11-

ni

1-
ru-
Is-

ae

bus

Ad- ju-

a

gen-

men-

• tun-

la-

ju-
ti-
ti-
tur
tus
cu-
est
non

lo

su-
va-
di-

mis
mus
lem
el
cit
vid
on
per me
bunt me
ca me

ni-
bi-
sa-
ra-
fe-
Da-
Si-

bus

bus
ad
es

tu
in

se-
o-
e-

te
se
cor
me

es
te
dit
rum

is

Sae

Habitati- o

Pestilenti- ae

Pe- dum tu-
Face-re cum
Rule: The last syllable is on the last note, which is
never repeated; the penultimate syllable is on the
penultimate note, DO, which is sometimes repeated;
and the third syllable (or fourth, if the penultimate be
repeated) is on the antepenultimate note, MI, which
is also sometimes repeated.

THIRD TONE

The following is the Third Tone for the Psalms: —

45

Intonation

Dominant

Inflexion

.III 1 1

■ m • a a „

G

■" " ^

■ ■

Dominant

Mediation

*

Vo- lun-tas .... e- . . jus
In ma- lig- . . . . nan-ti- bus
Au- di- vit Do- mi- nus et dis- tu- lit
Ar-gu- . . . . as . . me

Qui vult vf- tam

In- du- tus est

Justus es Do- mi- ne

Ut ci- vi- tas

Ex Si- on

Domus A- a- ron

Jerusa- lem Do- mi- num

Je- ru- . . , sa- lem

Isra- el De- us

Non ste- tit

Sunt su- per me

Su- per e- um

Eum cum prin- . . , ci- pi- bus

Fremet et ta- bes-cet

Mi- [se- ri- . . . . cor- di- a

Be- ne- die- tum

Bo- nus es tu

Con-tra me est

In me est

Rule: The MEDIATION begins on the penultimate
accent (natural or adventitious); and the last syllable,
whatever it may be, is always on the last note, w^hich
is never repeated; the preceding note is, however,
sometimes repeated.

FIRST METHOD

Dominant

Termination

A- ni- ma

me-

a

Do-

mi-

num

In

le-

ge

Do-

mi-

ni

Et

prae-

cin-

xit

se

Me-

am

i su-

per

me

Ante lucife-

rum

ge-

nu-

i

te

Di-

li-

gen-

■ ti-

bus

te

Vi-

VI-

fi-

ca

me

Ordi-

nem

Mel-

chi-

se-

dech

Tu-

is

Te-

ru-

sa-

lem

Pestilenti-

ae

non

se-

dit

Mirabi-

li-

a

fe-

cit

Qui conver-

tun-

tur

ad

cor

Conso-

la-

tus

es

me

Conteres

na-

ves

Thar-

sis

Super

do-

mum

Da-

vid

Dc-

o

Ja-

cob

47

EXCEPTIONS

Dominant

Termination

. 1 II

c ■ ■ ■

■

9

■

■

3

11

E

#—

ri-

gens pau- pe-

• rem

Do

-

mi-

ni

1-

bi-

mus

In mi- ra- b

-

li-

bus

su

- per me

SECOND METHOD

Dominant

Termination

c' . . .'

1

c ■ ■ ■

■

^

P. II

■ 1 m

Dex-

tris

• •

me-

is

Le-

ge

Do-

mi-

ni

In

ex-

• •

cel-

sis

In

lae-

ti-

ti-

a

In

Te-

ru-

sa-

lem

E- su-

ri-

en-

ti-

bus

Po-

pu-

• •

lo-

rum

Pesti- len-ti-

ae

non

• •

se-

dit

Spi- ri-

tu-

i

• •

sanc-to

Ante lu- ci-

fe-

rum ^

le-

nu-

i

te

Tu-

ur

n VI- ^

fl-

fi-

ca

me

Conso- la-

« •

tus

• •

es

me

Convcr- tun-

• •

tur .

• »

ad

cor

Mira- bi-

li-

bus .

su-

per

me

De-

• •

o

• •

Ja-

cob

Tu-

IS

Je- ••

ru-

sa-

lem

In quibus non

•

est .

• •

sa-

lus

48

Rules: I . Tht first TERMINATION begins either
on the fourth or the fifth syllable before the end of the
verse. It begins on the fifth syllable if the last word
be accented on its ante-penultimate syllable, or be a
Hebrew word of three or more syllables; or if the last
word be a monosyllable and the preceding word be of
two or more syllables. In other cases it begins on the
fourth syllable. The next syllable is always sung to the
Podatus, LJ-SIy followed by the next syllable to LA^
(never repeated), and the last syllable to the podatus,
SOL-LA,

2. The second TERMINATION begins either by
descending to LA on the syllable before the last accent^
or by singing the two unaccented syllables preceding the
last accent to 5/ and LA respedlively. The last accent
and the syllables between it and the final syllable are
sung to i)Oy while the final syllable itself is sung to
the clivis, SI-LA, (cf: Rule at end of First Tone).

FOURTBI TONE

Intonation Dominant Inflexion %

J I 1 I I \

S 1 1 ' —

49

Dominant
1 1

1

Mediation

1

■ " ■

■

■

1

Pec-ca- to-

rum. .

nonste- . .

tit

Vo-

lun

-. .

tas e- . .

jus

Au-di- vit Do-

mi-

nus

et dis- tu-

lit

Ar-

gu-

• •

as me

• •

Homo

quf

» •

vult vi- . .

tarn

Jus-

tus

• •

es Do- mi-

ne

Aedifica-

tur

« •

ut ci- vi-

tas

Dominus

ex

• •

Si- on . .

• •

Do-

mi-

nus

Si- on . .

• •

Jeru-

sa-

• «

lem Do- mi-

num

Is-

ra-

■ •

elDe- . .

us

Sunt Je-

ru

• •

sa- lem . .

• •

Domus

A-

• «

a- ron . .

* «

SECOND METHOD
Intonation Dominant Inflexion X

1 1

1

1

1

1

Pi ■ a

■

■

■

■

. 1

y *

- -

50

Dominant

Mediation

*

1 1

1

1

i ■ ■ ■ ■

. « ■ ■

■

■ 1

1

■ ■ 1

1

Pec- ca- to-

rum . . non ste-

• •

tit

Vo-

lun- . . tas e-

• •

jus

Au- di- vit Do-

mi- nus et dis-

tu-

lit

Ar-

gu- . . as me

» ■

• •

Homo

qui . . vult Vi-

■ •

tarn

Jus-

tus . . es Do-

mi-

ne

Aedifica-

tur . . ut ci-

vi-

tas

Dominus

ex . . Si- on

. •

• •

Do-

mi- nus Si- on

. .

. •

Jeru-

sa- . . lem Do-

mi-

num

Is-

ra- . . el De-

• •

us

Sunt Je-

ru- . . sa- lem . .

• •

Domus

A- . . a- ron

I . .

• •

Rule: The MEDIATION, for both methods, begins
generally two syllables before the last accent, and the
last accented syllable is sung to the note SI\n the first
method, and to MI in the second method. But if the
third syllable before the last accent be an unaccented
syllable of a word of three or more syllables, it also is
sung to the same note as the second syllable before the
accent.

51

B^

FIRST METHOD

Dominant Termination

e' "

■ Pa

———■—■ ■ ■■ -

■ Pi

^ ■

Mi- ra-

bi-

li- a fe-

cit

Qui con-

ver-

tun- tur ad

cor

Con-

so-

la- tus es

me

Conte-

res

na- ves Thar-

sis

Su-

per

do- mum Da-

vid

Vo-

vit

De- o Ja-

cob

Dominant

Termination

In mi- ra- bi- li- bus su- per me

Ante luci- fe- rum ge- nu- i te

Abundanti- a di- li- gen- ti- bus te

Tu- um vi- vi- fi- ca me

Non com-mo- ve- bi- tur

Omni- a quae in e- is sunt

Tu- is Je- ru- sa- lem

52

SECOND METHOD
Dominant Termination

1

1

1

1

1—1 1 ! ■

■ ■ ' . u

•

B-

-*-i

Mi- ra-

bi- li- a fe- . .

cit

Conter-

es na- vesThar-. .

sis

Su-

per do- mum Da- . .

vid

Con-

ver- tun-tur ad . .

cor

Con-

so- la- tus es . .

me

Lauda-

te no- men Do- mi-

ni

Atriis

tu- is Je- ru- sa-

lem

In mira-

bi- li- bus su- per

me

Ante luci-

fe- rumge- nu- i

te

Abundantia

di- li- gen- ti- bus

te

Tu-

um vi- vi- fi- ca

me

Tu- a ju- di- ca

me

Omni-

a quae in e- is

sunt

Vo-

vit De- 0 Ja- . .

cob

Non commo- ve- bi-

tur

Quando

con- so- la- be- ris

me

Tu- is Te- ru- sa-

lem

Ruleii I. The TERMINATION oi the first mtthod
begins generally on the fifth syllable before the end of
the verse; the fourth is on the next note LA; the third
is on the Clivisy SI-LA; the second is on the Clivisy
SOL-FA; and the last syllable is on the note ML
If, however, the last word be a Latin word of at least
three syllables having its accent on the antepenulti-

53

mate syllable, or a Hebrew word of at least three syl-
lables, or a monosyllabic word preceded by a word of
at least two syllables, then this TERMINATION
begins on the sixth syllable, the fifth being on the next
note, the fourth on the clivis, SI-LJy the third on
SOLy the second on FJ, and the last on MI.

2. TheTERMlNATlON of the second method
begins generally on xho. fifth syllable before the end of
the verse; the fourth is on RE\ the third on Ml; the
second on DOy and the last is on LA. But in the ex-
ceptional cases as given in the rule for X\\e first method^
the termination of this method will also begin on the
sixth syllable, and the last two syllables will then be
on LA,

FIFTH TONE

Intonation Dominant Inflexion T

I I I i I i

c ■

M B

1 1

■ m

m — — — •

a a

Domi

nant

Mediation

t-

Domi- no

me- . .

o

Pueri

Do- mi-

num

Sunt Jerusa-

lem . .

• •

Dominus ex Si-

on . .

• •

Indutus

est . .

• •

Didta sunt dc

te . .

54

Rule: The MEDIATION begins on the last accent,
and the syllables following are on the Dominant.

Dominant

Termination

III 1

F ■ ■

■

M

B ■ ■

■ ■ ■ -

- - - II

Dex-.

• •

. tris me- . .

. . is

Pesti- len- 1

ti-

ae non se- .

. . . dit

Mira- bi-

H- .

. a fe- . .

. . cit

In mira- bi-

li-

. . bus su- .

. per me

Ante lu- ci- 1

fe-

. rum ge nu-

■ i te

Di-

. .

. . li- gen-ti

bus te

Tu-

um

. vi- vi- fi-

• ca me

Qui conver- tun-

■ •

. . tur ad .

. . . cor

Conso- la-

. . tus es .

. . .me

Conteres na-

• •

. . ves Thar

. . . sis

Super do-

. .mum Da-.

. . . vid

Vovit De-

• 0 Ja-

. . cob

In .

. Je- ru— .

sa- lem

In .

. ex- eel- .

. . sis

In

. . lae- ti-

i- a

In qui bus non .

. est sa- . ,

. . lus

Po-

. pu- lo- .

. . rum

E-

$u-

^

. ri- en-

. ti- bus.

55

Rule: The TERMINATION begins on the penul-
timate accent (natural or adventitious) and the last accent
is sung to the Dominant, DO. Syllables between
these two accents are sung to the notes DO and SI if
there be two syllables; if there be three syllables two
are on DO and one on SI; but if there be only one syl-
lable, it is sung to.5/. Syllables which follow the
last accent are sung to LA.
(cf. Rule at end of First Tone).

SIXTH TONE

Intonation Dominant

Inflexion t

1

e

1

1

1

1

1

• P,

- -

n l>

. 3

■ a

B

II

Dominant

1

Mediation

*

1

1

1

■~ ■ ■ ■

^«

■ ■ ■ ■ ■

■

1

Rule: The MEDIATION of this tone is exactly the
same as that of the/r5/ tone^ (P'39)«

56

Dominant

Termination

c' 1

1

1'

C ■ ■ ■

n '

,9a

_

- n

■ - -- II

Mi- ra- bi-

li- a fe-

• •

cit

In mirabi-

li- bus su-

per

me

Ante lucife-

rum ge- nu-

i-

te

Di-

li- gen- ti-

bus

te

Vi- vi- fi-

ca

me

Qui conver-

tun- tur ad

cor

Conso-

la- tus es

me

Conteres

na- vesThar-

sis

Super

do- mum Da-

vid

Vovit

De- 0 Ja-

cob

In

le- ge Do-

mi-

ni

Ordi-

nem Mel- chi-

se-

dech

Tu-

is Je- ru-

sa-

lem

Rule: The TERMINATION begins on the fourth
or fifth syllable before the end of the verse. The
syllable immediately following is sung to the Podatus,
SOL-LA y the next syllable is sung to the note SOL^
which is never repeated; and if the Termination
begins on the fourth syllable, the last syllable is sung
to one note FA-^ but, if the Termination begins on
the fifth syllable, the last two syllables are each sung
to FA. The Termination begins on the fifth sylla-
ble in the exceptional cases mentioned in the Rule
for the Terminations of the Fourth Tone.

S7
THE SEVENTH TONE

Intonation Dominant Inflexion *i

1

1

1

1

1

1

i

- 5

■ ■ ■

■ - - 1

i - -

■

1

Dominant

Mediation

*

' '",___ _ 1

■ ■ ■ ■

- " - ■ ■

M

1

Rule: The MEDIATION follows the
same rule as that of the First I'one (p. 3 9)

FIRST METHOD

Dominant

Termination

1 i

1 1

■ ■ ■ ■

y

* ' F«

5B

SECOND METHOD
Dominant Termination

1 t

1

1
1

i ■ M B

" B B

a

i

a

- - ri

II

Com mo- . .

vc-

bi-

tur

Po- pu- . .

. .

lo-

rum

Be-

ne- di- . .

• •

ce-

tur

In lae- . .

ti-

i-

a

Moy-

si et . .

A

- a-

ron

Sal- vum me

fa-

■ ci-

as

In ex- . .

cel-

sis

Pe- dum tu-

o-

rum

Su- per . .

e-

um

Pesti-

len- ti- ae

non

se-

dit

Vul- pi- um

e-

runt

Non est . .

sa-

lus

Ja

- cob et . .

Jo-

seph

Di-

li- gen- . .

ti-

bus

to

Et e- nu- . .

tri-

cs

me

Vi- vi- . .

fi-

ca

me

Antelu

ci- fe- rum

gc-

nu-

i

te

Tu- a li-

be-

ra

me

Ut e- . .

ru-

as

me

Et prae- . .

cin

- xit

se

In mira

- bi- li- bus

su-

per

me

Quae in . .

e-

is

sunt

Qui convcr-

tun- tur . .

• •

ad

cor

Conso- la- tus . .

• •

es

me

Habi-

ta- ti- o

est

. .

in

te

59

Rule: TheTERMINATIONSgenerally
begin on iht penultimate accent (natural or
adventitious) ; the next note is sometimes
repeated ; the final syllable is always sung
either to the Clivis, SI-LA, for the first
Termination, or to the Podatus, SI-RE,
for the seconc/Termin2Ltion ; while the pre-
ceding note DO, generally receives the
final accent, and may also be repeated. But
to this rule there are, as may be seen from
the examples, several exceptions.

6o

EIGHTH TONE

Intonation Dominant

Inflexion *£

1 1
s i-— 1

1 i

M M M

1 1

■ ■ -■■

■ ■

Dominant

Mediation *

fi' .

t 1 .

m

y ■

■

■" ^

Do- mi- no
Opera
Difta sunt de
Locutus
In Ephra-
Jerusa-

me- . . o

Do- mi- ni

tc • • • <

sum • . • .

tcl • • • I

lem • •

Ru/e: The MEDIATION begins at the
last accent^ and the syllables following are
sungon the Dominant.

6i

FIRST METHOD

Dominant

Terminaticn

1

1

■ ■ - II

H

■

> n

II

Do-

mi-

ni

i-

bi-

mus

A

dex-

tris

me-

• •

is

Or-di-

nem

Mel-

chi-

se-

dech

Lu- ci- fe-

rum

ge-

nu-

i-

te

Mi- ra- bi-

li-

a

fe-

• •

cit

In mirabi-

H-

bus

su-

per

me

Di-

li-

gen-

ti-

bus

te

Vi-

vi-

fi-

ca

me

Conver-

tun-

tur

ad

cor

Conso-

la-

tus

es

me

Conteres

na-

ves Thar-

sis

Vovit

De-

o

Ja-

cob

Super

do-

mum

Da-

vid

Habitati-

o

est

in

te

SECOND METHOD

Dominant Termination

g — ■ — ■ — ■-

Ante lu- ci-
Persecuti

Tu- a

Abundantia di-

In domum Do- mi-

Tu- is

In mirabi- li-

fe- rum ge- nu- i te
sunt me ad- ju- va me

vi- fi- ca me

gen-
i-

ru-

su-

VI-

li-

ni

Je-

bus

Et prae- cin-
A dex- tris me-
Vovit De- o Ja-
in qui bus non est sa-
Conver- tun- tur ad
Conso- la- tus es
Habitati- o est in

'Rule: The first Termination begins either on the
fourth sy liable irom the end of the verse, i.e. one
syllable to each note; or on the fifth syllable, and
then the last note is repeated in order to take the last
two syllables, and this occurs in the the exceptional
cases mentioned in the Rule for the Fourth Tone.

ti- bus te

bi- .

mus

sa- .
per

lem
me

xit

•

sc
is

•

cob
lus

cor

. me
te

62

The iiicond Tcrjninntion begins two syllables before
the Inst accent (natural or adventitious) and the last
accent may be followed by one, two, or three syllables
which are sung on the Dominant.

TONUS PEREGRINUS

Intonation Dominant Inflexion^ Dominant Mediation *

T3:

-■—■—■-

■ ■

-■— ■-

Intonation Dominant Terminati

N:

-■ — ■-

V

NOTE : This Tone is sung to the Psalm In exitu out-
side Paschal time. It may be found, printed in full,
in the Vesperale for the second Vespers of a Sunday.
In Paschal time, however, the same psalm is sung to
the seventh tone.

The Tone for the Psalms in 'Pretiosa; m the Treces
for Benefactors before and after Dinner or Supper;
when carrying a corpse to the grave and in the return
of the procession; in the procession after Mass for
the Dead; and in the psalms for the burying of the
dead, — is as follows : —

■r B ■ ■ ■

>■■■".

■ -

64

If a Hebrew word or a monosyllable occur at the
end or in the middle it is sung thus:

% ■ ■ ■

■ ■ ■ ■

Volun- ta- te
Meo
Saecu-

tu- a Si- on
. . mun- da me
lo- rum. A- men.

>v

65
CHAPTER VI

VARIA

I

I . Manner of singing the CHAP TERS,
These always end with rH\ Infrxiou { *2 ) thus:

-■ — ■-

which is preceded by a Mediation (:) thus:

Sa- pi- ens . . e- rit

Di- cit Do- mi- nus

No- bis in Fi- li- o

Je- ru- sa- . . . . lem

Vi- ri , . su- i

Note, A aVlcdiution may itself be preceded by
another Inflexion if tlie Chapter be sufficiently long;
but at all times two Mediations or two I njlexions should
not come together.

66

2. Majjnerofsi?ighig PRATERS at Vespers
Lauds, and Mass,

A prayer is divided into two parts, the ^ody and
the Conclusion.

{n). In the Body of the Prayer there are two modula-
tions:

i. an Inflexion -g"
(Y or;) thus: -^

-■— ■-

■ ■

ii. a Mediation
(:) thus:

■ a

-B— ■-

'J^le: The INFLEXION is made by descending
fiftcr the /«;/ accent before the pause. The AIEDIA-
TION is made by descending after the penultimate
accent, and rising again on the last accent before the
pause. The ^Mediation should always immediately
precede the Conclusion. If the prayer be short the
Inflexion may be omitted, but if longer than is usual,
a Mediation may be made before the Inflexion.

(b). The Conclusion is either long or short. If longy it
has three modulations: first an Inflexion at tuum or
Patrsy and then a {Mediation at Sancti DeuSy which

6-7

immediately precedes the Tej-tn'tnation. The Termina-
tion is tmde thus:

<——

Hi ■-

■ I ■

Per om-ni- a sae-cu-la saecu-Io- rum. Amen.

If the Conclusion be shorty as in Memories, (except
the last), it is made thus: —

if

-■ — ■ — ■ — ■-

■ II

Per Christum . . .Domi-num nostrum. Amen
Per omni- a sae-cu-la sae-cu- lo- rum. Amen

(f). The Introduction to these Prayers is as follows:

ijg-i-"-"— g-Vi j— ■ ■ , , ■-■^

Dominus vo-biscum. R/. Et cum spi- ri- tu tu- o.

8? — ■ — ■ — ■-

I? ■

O- re- m

us.

68

3 . Manner of singing PRATERS at all
other times.

(rt). The Body of the Prayer:-

i. The Inflexion is made thus:

■g-

-■ — ■-

ii. The Mediation is made thus:

^i * ■ ■"

HI ■-

Sa- lu- te . . gau-de- re . .
Perfru- i lae- ti- ti- a

(A). The Conclusion: —

i. The Mediation is made thus:

±

-% B-

Spiritus sancti De- us.

69

ii. The Termination is made thus:

■S ■ ■ ■ = — ■— -

J5 ■ ■

Per omnia saecula saeculo-rum. Amen.
Per Christum Dominum nos-trum. Amen.

(f). The Introduction is as follows: —

±

■ ■

■ ■

Dominus vobiscum. R?. Et cum spiritu tu-o.

-■ ■-

O- re- mus.

4. Manner of singing the LESSONS.

Rule. The LESSONS are divided into sentences;
and a sentence may have one, two, or three different
modulations, yiz. an Inflexion^ Mediation and a Ter-
mination.

Rule for Termination: The last accented syllable is
sung to MI and only M;/rtav«/^i'/ syllables arc sung to
RE. If the sentence should end in a monosyllabic, it
also is suni: to All.

70

I . If there be only one modulation^ it must be a Ter-
minationy thus:

Frater

,To-

. . an- .

, nes

Gra-

ti-

a pie- .

. na

Translatus

ad

. . tu- mu

- lum

Fortes

in

. . fi- .

. de

Di-

es

. . me- .

•

1

Do-

mi-

nus De- .

us

Is-

ra-

el .

» • •

Gonversa-

tus

est . .

• •

Mise-

ri-

cors est . .

■ •

• •

Pec- ca- . .

vi

• •

. . Ab-. ,

sit

Torquentes cor

• •

. . me- . ,

um

Et non

• •

. . a- li-

us

Jesus

• t

. .Chris- ,

. tus

Ad Nathan

• •

. . di- .

. cens

Apud

• •

te est .

• « •

Haec di-

Clt

. . Do- mi-

• nus

Et dixit

ad

. . me . ,

• •

"Tunc a-

bi-

it, in- .

. quit"

"Unus de

du-

. . 0- de-

cim'

Comniis-

sa

, . sunt .

• • •

^estions are modulated thus:

Quid est e- umcortu- um?

Quare e- dux- is- ti me?

Quae?

...De- um Ac-ha- ron?

The Lessons are concluded as follows:

%■■■■■■ ■ , -

i.Tu au-tem. .Do- mi-ne,
2.Ha£cdi-citDomi-nusDe- us, Convertiminiadme:

% ■ ■ ■ _ ■

■ ■ ■ ■ "

mi- se- re- re nos- tri. R/. De- o gra- ti- as.
et sal- vi- e- ri- tis. Ej. De- o gra- ti- as.

NOTE. When the Lesson does not end with Tu
autem or Haec dicity then the last sentence ends thus:

Di- cit . . . . Do- mi- nus om-ni- po- tens.

In sempi- ter- , . num

Fi- li- is Is- ra- el ... .

Con-ver- sa- tus est ... .

Ab omni o- pe- re quod pa- tra- . . rat

72

A^. B. If a speech or some quotation be referred to,
even though in the form of a question, it, neverthe-
less, is sung in this manner: —

<^

■ ■

Etnondi-xit e- i Je-sus: non mo- ri- tur:

scd sic e-um volo ma-jie-re donee veniam quid ad te ?

And this is also observed in the singingof the Ep'ntle
and of the Gospel.

2. If there be tivo modulations^ the first will be a
Midiation^ wliich is made as follows:

■P

>

■

Me- a me- cum est:
Fili- is Is- ra- el:
De ra- di- ce Jes- se:

I- na- nis et va- cu- a:
Vi- dit In- ccmmagnam:

In His- pa- tii- a:
Et a- 1i- hi:

3. If there be //;; vv modulntions^ the Mediation will
be pieccdcd by an luflrxion made in the ordinary way.

73

5- Manner of singing the EPISTLE.

In the chant for the ETISTLE there are the
following modulations:

I. The Mediation^ made as follows: —

mtW Mam

% ■ ■ ■

M M

^" ■

■

B

■ ■

— ■ — w

He- a-

ti .

• . • •

Pau- li

.

a-

pes- to-

li:

Doctri-

nam .

.

scrip- tn

•

.

sunt;

Se- cun-

dum .

. Jc- 8um .

• •

•

.Chris-

- tum:

, ,

• •

. Ex . .

tri-bu

•

• .

Gad:

•

• •

. . .Qui

ti-mct

•

. Dc-

um:

.

,

Quod si

spi- ri-

tu

du-

ci- mi-

ni :

Quam-ob-rem

as-scn-.

ti- re

•

. no-

bis:

. Au-

tern .

.

fac- tus

.

sum vir:

Vox qui-

dem .

. vox .

Ja- .

.

cob

est:

• •

•

. Ja- cob .

.

au

- tern:

.

.

.

Lux

. Vt-

ra :

. No-

ta .

. si

onini-

bus

ho-

mi- ni-

bus ;

.

• J«-

ru- sa- lem .

li- be-

ra

• •

est

Si- n.1 e-

niin .

. monsest in A-

ra-

bi-

.

a :

.

. Sedcjui

de an-

ciU

.

la:

. .

.

. . .Qui

ex-hor-

ta-

.

tur:

. O-

le- i

. non est immi-

nu-

.

tus:

Extri-

bu .

. . Neph-

. ta-

.

.

li:

Tu au-

teni .

.

pcr-ma-

ne-

■

bis:

. Si-

vu .

. mi- .

nis-

te-

ri-

.

um

.

.Vo-bi'* .

. met

- 'P

- .

.

sis:

Iii po-

pii- lo

ho- no- ri- .

. fi-

ca-

.

to:

ut fa-

ci- am vo- liinta- .

. tern .

. mc-

am

.

.Zn-

ro-ba-bel .

au-

tem

Ad c-

um .

. ex- .

. tr.i

. Cas

-tra:

(^leni t'e-

cc- rat

. . ad .

1 Ol

llfU-

.

dum

Mn- r.i- len

- tiir .

. in .

,

.

. Si-

chem

74

Rule. Unaccented words or syllables immediately
preceding the penultimate accent are sung to RE.
Accented words or syllables immediately preceding the
penultimate accent are sung to FA. The penultimate
accent itself is also sung to FJy as is also t\\Q final syll-
able or a monosyllabic word, and the syllables in be-
tween these two are sung to MI. Hebrew words of
three or more syllables, and Latin words of more than
three syllables, have only one accent, unless they come
at the end of the Mediation.

The beginnings to the Epistle, e.g. Fratres; Carissi-
mi; In diebus illis, do not prevent the Mediation from
coming in the same sentence; thus:

»-« ■ ■ ■

In di- e- bus il-lis:

'fi-T-nr-'- ■ ■ ■ ■ ^ ■ , , ■

Ca-ris-simi: Omne quod na- turn est ex De- o:
Fratres: Qui glo- . . . . ri- a- tur:
Fratres: .... hor-tamur . vos:
E- rat . vir inBa-by- lo-ne:

1^

2. The Termination^ at the end of each sentence,
and made as follows:

■P

a

%

■

■

Ad
Ad
Ad
Ad
. Pe-
Jo- an-
Lec- ti- o A- mos
I- sa- i-
Lec- ti- o H-
Li- bri Sa-
. Haec di-
Haec di- cit Do- mi
In- ven- tus est
. Dis- si-
. So- bri-
. Os
. II-
Du- o- de- cimmil-
. Qui
. Et
. Haec
Quae- rens quem
. Spem non
. Do-
Ad A- chaz
In Is-
In Je- ru-
Sed

. Ro

- ma-

,

nos

. Co-

rin-

thi-

o(

* *

•

Ti-

turn

• ■

Ga-

la-

ta»

tri

a-

pos-

to-

li

. a-

pos-

to-

li

. pro-

phe-

»

tae

. pro-

phe-

•

tae

»

bri

Ge.

ne-

sis

pi-

en-

ti-

ac

cit

Do-

mi-

nus

ni-

nus

•

De-

us

•

Jus-

•

tug

pa-

ta-

•

rum

e.

ta-

e

teni

•

•

8U-

um

lum

in

•

nu-

be

li- a

sig-

aa-

•

ti

•

•

di-

xit

•

•

e-

go

ct

•

me-

tet

•

de-

vo-

ret

•

•

ha-

bent

•

mi-

nu9

est

•

«

di-

cens

•

•

ra-

el

•

•

sa-

lem

t

•

di-

CO

Rule. The Termination begins at the penultimate
acceyvt (natural or adventitious) with the podatus FA-
SOLy and the last syllable is sung to Ml.

76
QUESTIONS are sung as follows:

_B . II

% B B B B B B

■

II

Numquid nou au- di- c-

runt?

■P n

% B B B S

Quis con-tra nosr
Qui c- nim es tu?
. Lau- do vos?

It is permissible to make a Mediation before a ques-
tion-modulation, and also immediately before the
conclusion of the Epistle.

3. The Epistle is concluded as follows:

nP

M

«

%

M

Ml

nt

M

n-

ta- tis.

Sed in a- zy- mis sin- ce-
ll- li- us e- na- . . ra- bit,

Per Je- sum Chris- turn

. In Chri- . . . sto Je-

su

et

. ve

•

n-

ta- tis

om-nis

cc-cle-

si-

a

sane- to- rum

,

. Do-

,

. mi-

num iios-trum

•

. Do-

.

. mi-

no nos-tro

n

Rule. The Conclusion consists of two phrases sepa-
rated by a short pause. In the^;.s/ phrase arc two ac-
cents, the syllables between which are sung to RE.
In the second phrase there are also two accents, and the
syllable before the last accent is sung to MI; but if
it be the second syllable of a daftyl then the two sylla-
bles are sung to Ml.

6. Manner of singing the GOSPEL.

i. The ■S^ItcJiation is like that of the Epistky as ako
arc QuestionSy and the Conchiston.

ii. The TerminatioHy at the end of a sentence, is
made by descending from FJ to MI at the last accent
and at all the syllables following, thus:

Ge-nu- it Ja- . . cob
. . . Etdi-xit .
. Non sum .

iii. The Dorninns vobiscum^ etc. at the beginning,
arc like those for the Prayers at Vespers. The Respon-
sary after the singing of the name of the Gospel is as

loliows: —

Glo- ri- a ti- bi Do- mi- ne.
For the manner of singingothcr parts of the Chant
such as (jloriaSy RisponsarieSy "VersicIeSy etc.y see the
Processionariuniy O.P.

78

II

The MASSES in our Graduale are as

follows: —

1. IN FESTISTOTISDUTLICIBUS. This
Mass, according to our Caeremoniale^ should, at least,
be sung on Solemn feasts, e.g. Prior's Feasts; it may
also, of course, be sung on all Totum Duplex feasts.

2. IN FESTIS D UPLICIB US. This Mass may
be sung on ordinary Totum Duplex feasts and on all
Sundays which are not Solemn Feastsj but it may also
be sung on all Duplex Feasts.

3. IN FESTIS SIMPLICIBUS. This Mass
may be sung on ordinary Duplex feasts (not Sundays),
and on ferial days within Solemn and Most Solemn Oc-
tayesy and on these Octaye-days; and on Simplex Feasts.

4. DEBEATAVIRGINE. This Mass should
be sung on ferial Saturdays-^ but it may also be sung
on all Feasts of Our Ladyi within Solemn Octaves of
Our Lady's feasts even on other feast-days; and as
often as the Mass is of Our I.ady.

5. INFRA OCTAFAS SIMPLICES. This
Mass may be sung on Simplex feasts and for 'Ootive
Masses.

6. PROFESTISDIEBUS. This Mass should
be sung on ordinaryy^rm/days, not mentioned above.

7. TRO T>EFUNCriS. This Mass must be
sung for all Masses for the Dead.

79

In PASCHAL TIME the Paschal Aj-r/V should be
sung on all Simp/ex feasts and above; on Sundays;
within Solemn and Most Solemn odaves; and also
on the Vigils of Easter and of Pentecost.

On the VIGILS ofEASTSR and ofPENTE^
COSTj the Gloria^ etc. should be from the Duplex
Mass.

The Order has now adopted, as one of its Masses,
the MISS A de ANGELIS together with its Credo.
For diredlions as to the use of this Mass, as well as of
the others, see the Ordinar'mm Missae, pp. 57 to 63.

According to Dominican law, the Credo should be
sung unaccompanied.

Ill

AT BENEDICTION of the "BLESSED SACRA-
MENT^ if the choir be composed of religious, it is
most desirable (even though it may not be of obliga-
tion), that all the music be restrided to Plain Chant.
If, however, the choir be composed of seculars, there
is no objedion to the use of modern music, provided
the regulations of Pope Pius X be not departed from.
Nevertheless, whatever be the nature of the choir,
it is very undesirable that the music be partly accord-
ing to modern^ and partly according to Plain Chant
principles. For the principles of each are so different
that to endeavour one moment to sing according to
one set of principles, and the next moment according
to the other set, is almost sure to be to the detriment
of both kinds of music.

8o

In the Dominican chant there is only one melody
for the %)£rbuni Supernuin and hence for the 0 Salu-
taris. But other melodies (if change be desirable)
can be easily adapted. For example, the melodies
sung to the Compline hymn Te Lucis, are very suit-
able.*

For the Pangc Lingua, and hence for the Tontum
Ergo, we have three melodies (sec l^esperale for the
feast of Corpui Chrlsii). But the melody of the hymn
Urbs Jerusalem, or of S. Michael's hymivTihi Christ e,
may be adapted. We would recommend for use at
Benediftion Cantus Pro 'Bencdict'tonihus SS. Sacra-
mcnti, by Fr, M. Barge, O.P. (Society of S.John the
Evangelist — Deselde, Lefebvrc & Co. — Tournai
[Belgium] and Rome).

IV

It is as necessary for the good rendering of Plain
Chant, as it is for that of modern music, that great
attention be paid at least to the elementary rules of
good voice production. Hence, vocal exercises should
be pradlised in order to obtain a sufficient volume of
sound, a true and precise "attack," smoothness of
execution, and purity of vowel sounds.t

* Ste Conijihtorium O.P. especially pp. 13,38,102,103,1 10,120,
I32,l5+,etc.

t For guidance in this matter, see other works: e.g. A Tnmer of
Church Music, by Fr.V.C, Donovan, O.P. {K.enedy & Sons, N.York.),

8i

V

The Dominic an ORDER has published
the following Liturgical books ^ within recent
years ^ containing the reformed notation of the
chant: —

The GRAT>UALE^ containing the Proper and
Common of3^asses;

The V8SPS%ALS^ containing the chant for
'Vespers for all days in the year;

The COmPLETOIilUad, containing the
chant for Compline for every day in the year;

The TT^CeSSI0N^1{IU-!M. This book
contains the chant for all PROCESSIONS a.nd also
the general and particular rules of the chant;

The TRIDUO ante PASCHA, containing the
Offices and Masses for the last three days of Holy
Week.

ORDINARIUM MISSAE, (Romae igio).
This is a small book of some sixty pages, containing
the chant for the different grades of Masses (including
the Mass for the T)ead) to be found at the end of the
Gradual. But it also contains the Mass known as De
Angelis^ which, therefore, is thus formally approved
for use amongst Dominicans. In an appendix, there
are given very precise direftions, based on the Proto-
type of Bl. Humbert, fifth Master-General, as to the
use of the various Masses contained in the book.

82

CHAPTER VII

ACCOMPANIMENT

THE perfeftion of any accompaniment is
that it be in strift agreement with the me-
lody which it is to support. Strict atten-
tion, therefore, should be paid to the moda-
lity (or tonality) of each piece.

The harmonies should be founded on the Diatonic
scale of five tones and two semi-tones.

Chromatic progressions {i.e. made up of semi-tones)
are absolutely foreign to the Plain Chant melody, and
rob it of many of its strongest and most beautiful
effeds.

The organist must be thoroughly conversant with
the theory of the Chant which he is to accompany.

He must be careful to mark the rhythm of each
piece, bringing out its accents, and passing lightly
over unaccented notes and phrases. Hence, the chords
should be played only on the rhythmical accent, or
thesis.

The best accompaniment, that which fully bears
out its name, does not aim at leading the voices in an
obtrusive manner, still less at drowning them in its
magnificence.

Hence, the Chant should be accompanied softly.
A loud accompaniment covers the voices, injures sing-

83

ers by causing tkem to force their voices, and makes a
light and free execution impossible.

A calm accompaniment, varied by a judicious
change of chords, affords the most satisfactory setting
for Psalm-tones.

The accompaniment should be very simple in tex-
ture, the parts moving as little as possible, and with
as small intervals as may be; for every large interval
(more especially in the bass), tends to make an accom-
paniment sound heavy, and aftually makes it difficult
to avoid playing heavily, thereby hampering the free-
dom of the rhythm.

Nevertheless, the accompaniment must be sympa-
thetic. The organist must be in touch with his choir,
he must feel for its weaknesses and be ready to give
support; he must know its strong points and give them
scope; but he must be willing to restrain those gor-
geous harmonies which too often seduce the accom-
panist of Plain Chant.

Lastly, the organist should always remember that
he is subject to the diredlion of the Cantor in all mat-
ters that affect the choir.*

For further guidance in this matter see other works, e.g.

The tArt of Accompanying Plain Chant, by Max Springer — •
(Fischer & Brc, 1 1 1 New St., B'ham & New York),

Rhythmic Accompaniment of Plaimong, by Rev, S. G. Ould, O.S.B.
(Amplcforth Journal, July 1 9 1 5).

84

APPENDIX

Attention is here called to certain differences to be
found in some editions of Plain Chant other than Do-
minican.

The Rhythmical accenty or ictusy or thesisy is some-
times shown by a WttXe. perpendicular line placed above
or below a note, (see Dom Pothier's edition of the
Graduale O.S.B.); or by a very small stroke added to
i\.punctu7n (much smaller than the stroke of a virga,
and not to be confused with the Dominican liques-
cent stroke); or by a very smaW perpendicular stroke
joined to the left corner of a diamond note. Thus

i-

li-x^

-1^

A little horizontal line placed over or under a note
or group of notes, indicates that that note or group of
notes is to be sung a little more slowly.

A little dot placed to the right of a note doubles
that note, thus:

^.

The quarter bar indicates a pause or delay where
breath may be taken but need not be. If, however,

85

breath be taken, it must be be done rapidly, and the
time taken deducted from the length of the preceding
note, e.g.

6 H^-^

A comma is sometimes placed after a note to mark
the place of a very rapid breath.

The asterisk (*) often marks the end of the intona-
tion, thus taking the place of the Dominican double
bar.

In the Solesmes Chant books, the influence of the
accidental y?fl^ (1^) extends only to the end of the
word in which, or up to the bar before which, it
occurs. In the "Vatican edition of the Chant it afFc6ts
only the note to which it is attached. Other books
must be consulted for the manner of singing the
psalms according to the Solesmes method.

86

BIBLIOGRAPHY
I

CHIEF SOURCES OF INFORMATION FOR THIS BOOK:

1. Dominican Liturgical Boo^s^ especially the Processi-
onarium.

2. A Grammar ofPlainsong^ by the Benedidtines of
Stanbrook (Art & Book Co.).

3. Gregorian Musicy An Outline of Musical Palaeo-
graphy, by the Benedid:ines of Stanbrook (Art &
Book Co.)

4. Plain Chant and Solesmes, by Dom P.Cagin,O.S.B
and Dom A.Mocqereau O.S.B. (Burns & Oates,
Ltd., London).

5. A Manual of Gregorian Chanty compiled from
Solesmes Books and ancient MSS. (Descl6e& Co.
Rome.)

6. Rhythmic lAccompaniment ofPlainsong^ by Rev. G.
Ould, O.S.B. (Ampleforth Journal, July, 191 5).

7. A Primer of Church Music, by Rev.Vincent C.
Donovan, O.P. (P.J.Kenedy & Sons, New York).

II

FOR FURTHER STUDY SEE THE FOLLOWING WORKS!

I . La PaUographie Musicale, by the Benedidlines of
Solesmes.

87

2. Methode Complete de Chant Gregorien, by Dom M.
SablayroUes, O.S.B. (Descl^e & Co., Rome).

3. J New School of Gregorian Chanty (2ndEng.Edn.)
by Dom Johner, O.S.B. (Pustet, New York).

4. Kyriale (Rhythmical edition) ^ by Benediftines of
Solesmes; Preface by Dom Mocquereau, O.S.B.
(Descl^e & Co., Rome).

5. Les Melodies Gr/goriennes, byDom J.Pothier,o.s.B.

6. The Solesmes Transcriptions.

7. Petit Traiti de Psalmodie^ by the Solesmes Bene-
didlines (by Dom Mocquereau).

8. Le Nombre Musicale^ by Dom A.Mocqereau, O.s.B.
(Descl6e & Co., Rome).

9. Graduale Fratrum Praedicatorum. Xlllth.centy.
At British Museum, ADD. N0.23935.

I O. Correctorium S. Jacobi Parisiensis^ Ord. Praed.^
of B.Humbert de Romanis, A.D.1254, at Libra-
ry of Dominicans, Rome.

\l. La Musique Gregorienne, par Dom Augustin
Gatard, O.S.B., de Farnborough (Paris: Lib.
Renouard, 6 Rue de Tournon).

1 2. Analecta Ord, Praedicatorum^ i<)ij. (Rome).

^

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